Brazil
There’s no time like the present to revisit Dona Flor and Her Two Husbands and be reminded that Sonia Braga is one of cinema’s brightest-ever stars.
Combining found footage, family photographs, and Karim Ainouz’s own camerawork, Mariner of the Mountains is a brilliant mix of family history and origins.
Made pre-COVID, Iuli Gerbase’s The Pink Cloud is about two people forced into lockdown together when a toxic pink cloud envelopes the world.
When one looks beyond the immediate novelty of the film’s title, one is taken aback by how dull and derivative Yakuza Princess actually is.
In the latest Queerly Ever After, Amanda Jane Stern looks at the lack of driving plot in From Beginning to End and the story that could have been.
All and all, Good Manners is a flawed narrative with a good heart and powerful message at its core.
The Way He Looks is a poignant coming-of-age movie with an incredibly sweet romance between Leo and Gabriel at its core.
Neon Bull employs the unique routine of rodeos to approach – and subvert – gender stereotypes.
Like last year’s Academy Award-winning Parasite, Bacurau manages to turn the class struggle into inventive entertainment without its overall message losing any of its potency.
Invisible Life is an enchanting experience, one that emphasizes the power of hope in times of helplessness and the importance of love above all else.
City of God is a great introduction to world cinema – and here’s our guide to the best foreign language films to seek out afterwards.
While at times a frustrating watch, The Cannibal Club is an unusual treat for horror fans and a fascinating piece of filmmaking from Guto Parente.
The Kino Lorber re-release of eight shorts and six features by Brazillian New Wave director Joaquim Pedro de Andrade is a true cinematic gift.
Cinema Novo is an impressionistic documentary about the classic Brazilian movie genre. It’s beautiful, but is too hard to grasp for newcomers.
Aquarius is a powerful character study about a woman fighting back against vulnerabilities, anchored by a fine performance from Sônia Braga.
